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Be RT a4 $850 
1,800 
1,600 
BERN Fo ii 2,000 
ewe)? BBS 
Ca Rae "2,500 
a aie ck * 1,000 
Diipeés Hen es LOO 
vs, enry 
a 2,150. 
900 
\ ” Daubigny; 
Rea ered ied » 1,800 
tock.” Millet; O. 
oR al Se 1,100 
”"  Wobbema; 
rere Ba ce 1,100 
Ss; A. B. Meyer. 1,700 
. Pendleton.., 2,000 
St. Helena,” 
Poot. 500 | 
am.” De Boek; Stan= 
be ee Pe Sota en Y 3,150. | 
ti; A, B. Mever...... 650 
-Blommers; Knoedler 
MAS Cea eS ys byes i 2,100 | 
eat.” Cazin: M.D. Sterner. 5,500 
| ee "< Tsabey;, LL. 
he ES ORES en ee 1,000. 
Bait M. Dp. 
“STOR P 4 ap eae 9,500 | 
“Winter,” ‘Millet; 
Ne Seni nig ok OA AS ness igo + 1,100 
§ Mitiet: Durand-Ruel...... 2,100 
rine: ‘Daphnis and Chloe,” Millet: 
Ww md-Ruel.. Ap RRS 2 ON ry! oJ Ce ea 5,200 
es ih «ee Gy pal bsp die $418,050 


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‘Isman™ of P delphia, 
a huss 


'peared ridiculous. 


ing: 
A. F, Renoir’s “Young Girl Reading’’; 
Prema RUel ye aiielss cck waa elie ealorreaiey ain Poe $850 
Jean Francois Millet’s ‘‘The Road’’ (pastel); 
Ben J. GUT ier piichiy ah tie ein th acy wae cage ya 'e aa 1,300 
N,V, Diaz’ “Women ‘ls Harlem’: M.D 
SUGPRET A amiae tanks ia, thar inn ea esa eee ete 1,600 
Th, Rousseau’s “The wna of the Forest’’; 
Fs PET ALCOR HEAT cite ace catk arate ee idats pieseath 2,000 
Joseph Bail’s ‘Boys Blowing ,Bubbles’’; G. 
RU UNO OU BANE yeni Cie KSio aa pire onthe Pslevieee 550 
Eugene Isabey’s ‘‘Massacre of St. Bartholo- 
POW t NES Ee ORTON yo tive cnet emedi seine 2,500 
Gustave Courbet’s ‘Winter in the Forest’’; g 
Ee, HEVUEO RE sreraty sits tele oA ka Siesta Nts 08 Liste lalel piace 1,000 
| Jean Leon Gerome’s’ ‘'Tiger on the ‘Watch’’; 
Wa COB icone coe tie a siedatie dalle eae as 1,100 
| Jules Dupre’s “Pastures and Cows'’; Henry 
REINA cop Bah sateen eed ede she balls Daag amas 2,150 


| Eugene. Isabey’s 


/C. BF. Daubigny’s 


‘anions Calle ion of the ¢ Philadel: 


ONLY “8080 is ‘REALIZED 


arenes Hall was. ony” tainty. 
filled last evening by picture lovers at. 
the: sale of paintings belonging to Felix: 
under charge of | 
Art Galleries: The bid- 


ding was. without enthusiasm, in many 
cases no more than a second bid being. 
reached. Mr. Kirby was plainly taken | 
by surprise, and showed it in his talks, 
to, the audience. 

‘In yiew of the enormous prices bail 


‘for examples of most of these painters | 
‘in past sales the bids last evening ap-— 
The pictures were 
‘authentic and were bought almost en- 
tirely from the principal dealers. . For) 
the Joseph Bail “Nuns Saying Grace” 
Mr, Isman paid over $23,000 direct ee 
the artist, and last eveniug it brought | 
only $5, 500, The Isabeys, which were 
of fine quality, brought less than one-' 
. fourth the usual prices. |’ 

The sales this Winter so far have 
shown a very considerable drop in Barbi- 
zon and other modern French paintings, 
but none so pronounced. as last evening’s, 
Whether the prices have previously been 
boomed out of all reason or whether the 
craze for old masters has completely 
taken possession of collectors is now the 
problem for. the public to. consider. 


Buyers and Prices Obtained, 
Following was the result of tne sell- | 


“The Fish Market’’; -M. 
Knoedier ie Os yi Ue Raat wee owewls « Fee 900 
“Hauling Logs'’; M, ‘D. 


a a a eink RSet oa ne nt 


SLOT HOLS eine niles vila ay ae ree sew ee Pen paler Fs 300 | 
J, F, Millet’s “Shepherdess and Flock’’; 0 
PARRY NGL Wa pw attabiarainan aa Siac eeslecrrea ety Wa ule wince aud le 1,109 
Meindert Hobbema’s ‘‘Le Chemin du Mou 
Pei Mie Se UBM ery acs sloy ye es inmates te'eale 1,100: | 
Paul Jean Clay’s ‘“‘Coast of Zealand’’; A, 
Bet MMOV ER Li ping ba vad elpse soiree Re cine he AIMS Yah 1,700 
|C. “F. Daubigny’s ‘‘Landscape’; Ly, Pen- 
f OMROLOT SPA irr gee hh eile easy, aches eiore oly pipkart'h pee 2,000 © 
| J. L, Gerome’s ‘'Vision du Captif de St. \ i 
Helena’ s “he Pendleton. a. ven tieaistes ye oe 500 | 
Th. De Bock’s ‘‘Sunset. Near Hielsum’’; 8. f 
B. Metoa Bara sania see rea eeipane cae 8,150 | 
A. Asti’s. ‘'Female Nude’’; (A. By. Meyer.. 650 
|B. J. Blommer’s ‘A. Happy — Home’’; | 
Knoadler: isso seosiu hc ekcoun wetaed somites eel 2,100 © 
| Jean Charles Cazin's ‘‘A Quiet Retreat’’; ' 
M/s Des Bkemn ep aiutcta ls ogee ann druse et, eoaret 5,500 | 
Eugene Isabey’s *‘Smugelers’ Surprised’; L. 
Pandletat gaevan cewek cya a eent spe sve chins gee 1,009 
Joseph Bail’s ‘‘Nuns Saying Grace’’; M. D. | 
BtSr ers. Mh Kaede Wh dee Vines We lalp eae, eaioidis 5,500 | 
Jean Francols Millet’s | ‘*Winter’’; Durand- 
Raelis.4 Se bits wave costs aenten s SBE IRars |b iyig Sg tate: bis Dari Da.Ma 11,100 
Jean Francois Millet’s ‘‘Summer’’; Durand- ' 
FRB, eee task ikaneeeremenintrans ad aeinacg sc ving ht sole 2,100 | 
Jean Francois Millet’s ‘‘Spring, Daphne and 
Chinecs vDUrandstel kas ys web die pees deat 


The total for the sale was $48, 050. 


Only $5,500 Paid forBail’s “Nuns. 
Saying Grace,’’ Which Cost | 
Coletor $23,000. a 


re _CAZIN AT SAME PRICE 


‘Millets. dr Spring, Daphnis and Chloe” 
Brings $5,300, and De Bock’s “ Sun- 
set Near Hielsum,” $3,150. 


| Twenty-five important modern paint- 
|ings, the collection of Felix Isman of 
Philadelphia,, were sold last night by 
Thomas Kirby of the American Art Asso- 
ciation at Mendelssohn Hall for $48,050. 
Mr. Isman is to give his attention to the 
collection of prints and engravings of old 
masters, and for this reason disposed of) 
his paintings. They did not all bring the) 
prices paid for them. 

The picture bringing one of the higher 


prices was ‘‘ Nuns Saying Grace,’”’ by Jo-!| 
seph. Bail, which went to M. D. Sterner) 
for $5, 500. Mr, Isman bought it of the, 
artist, paying 100,000f. in E'rance, and a 
total of $23,000 to get the painting into 
this country, Mr. Sterner bought a num- 
ber of pictures at the sale, paying $5,500 
for ‘*‘ A Quiet Retreat,’’. by Jean Charles! 
Cazin, and $2,500 for Isabey’ s ‘* Massacre 
of St. Bartholomew.’’ : 

Millet’s ‘Spring, Daphnis and Chloe,” |} 
went to Durand-Ruel for $5,300. Stanton} 
B. Metcalf paid $3,150 for ‘‘ Sunset Near | 
Hielsum,” by Théophile de Bock, and 
Henry Rheinhardt of Chicago gave "$2, 150} 
for “ Pastures and Cow,” by Jules Dupré. 

Following is the list of pictures, names 
of artists, “purchasers, and prices: 


Young Girl Reading (pastel)—Auguste 


ee 


Firmin Renoir; Durand-Ruel .......... $850 
The Road (pastel)—Jean Francois Millet; 
Benjamin? WW Gresyhe ais. (eacy a ens sve p mete kin sats 1,300 
| Women of the Harem—Narcisse Virgile 
Diaz de la Pena; M. D. Sterner....0. 1,600 | 
|The End of the Forest-—-Theodore Rous- 
eas <r ASU eae S BB Rta eigen Mie eo ee rly 8 2,000 
| Boys Blowing Bubbles—Joseph Bail; G. 
Bh | DMC TO 207 Geel wig eb de dates ee 8d ce eh te 650 


| Massacre of St. Bartholomew—Eugene  .- 
Louis Gabriel Isabey; M. D. Sterner.. 2,500 
Winter in the Forest—Gustave Courbet; 


Sse ASAT CONT Airco es oe LR aeaeizce atin te 1,000 
| Tiger. on the Wateh—Gerome; R. L 
Peape SX 0-1 eRe ce GRU amet SO ar ORE Ne Med Peed Ap 1,100 
Pasture and Cows—Jules Dupre; Henry 
He AoC SgVNE-N Vay emer eee teen Seren ieee A rat 2,150 
The Fish Market—Isabey; M., Knoedler 
hit ie SO a eis caateda tsetse vik 5 ACA nel dae iNet ope caindelarats 900 
Hauling Logs in Autumn—Daubigny; M. 
DO SUCETLOM tiaidics ite bow creme e hwcea dit of ee mee 1,306 
Shepherdess and Flock—Jean Francois 
aries By) Gat pie OE 15 os 9c ean a Mell Ae 1,100 
Le Chemin du ‘Moulin—Meindert Hob- 
| ‘pema; IM. DD. Stemner cs ee vende cad 1,100 
Coast of Zealand—Paul Jean Ciays; A. 
fit 5 du ov SRS IM I ol es CUBES MIRE aera mnie are! siete wire Mie 1,700 
Landscape—Daubigny; L. Pendleton.....< 2,000. 
| Vision du Captif de St.. Helena—Gerome; 
b 2; Tap “Pengleton a.) tustargmeyeereterdy vit ois we a\erwre 500 
Sunset Near Hielsum—Theophile De Bock; 
Stanton. Bac MSROaIE a itin aa. Gen poem oe ee 3,150 
Female Nude—A, Asti: A. B. Meyer..... 650 
|A_ Wappy ‘Home—Bernardus Johannes 
| Blommers; Knoedler & Co.,....--...555 2,100 | 
A Quiet Retreat—Jean Charles Cazin; M. ] 
EPA LALO EOY re cat wttoe carta adie s/he a's Oh aa 5,500 
|} Smugglers \Surprised—Eugene Louis Ga- 7 
briel Isabey; L. Pendleton..........+.- 1,000 
Nuns Saying aphanaynoate Bail; M. D. | 
SRG rats eicisy sce cainiclaeey y era's Werk gierapernem 5,500 | 
| Decorative Panel, “Winter—Jean Francois 
Millet; Durand- Balt wy yeti. Namie 1,160) 
|Summer—Jean. Francois Millet; Durand- 
PRAY P Ge A Sed ie tien a aepibgede aie. wiv p ipiatereate 2,100 
|Sprine, Daphnis and Ghloe—Tean Francois 
Millet; Durand-Buvl...ccsceee eset senece 5,800 
PES CERERR Cook pres Ui iia ie hie: dg 8 Rie eck Sim he +». $48,050 


There was a good attendance, 


i Millet for $1, 100; Total § $48,099 
“ ens Saying “Grace, : Be ok fe $33, 600, ‘Gingse Only. 
1) $5,500-in Dispersal of T wenty-Five _ oe hy oe 
| New le and Philadelphia Lote 


ar whe 


sip 
pees 


‘eeptionally low pr bes ruled at the sale Cour bet, “Winter ed the Forest’; Mr 


ey on MERE EOT hs feet ans heeia Wenn artes lok. abe 
>) wi a, 4 ; ais oe gi 
f the pictures owned by Mr. Felix ‘Iisma | Gapome, vibtrer Gh ‘the Waten’s MS 

f this city and Philadelphia, which were “pm 7, Rose ; 
Id last night in Mendelssohn Hall by the Dupré/ ‘Pasture “and Cows”; 2 = 
merican Art Association. Several of the: ihenry Reinhardt tie Wide aa ts Wats erste ~ 
forks were of exceptionally fine quality,, Daubigny, Hauling Logs in. AU Cscat 
id the newcomers bought them at con-) tumm”; Mr. M. D. Sterer..-.--essees cel 
siderably less than their true yaite. The! Millet, ‘Shepherdess and eee ie ae 

tor al sum yielded by the twenty-five can-' Otto Bernet, agent.....,.1,...- Seas p 
Ses was $48,050. | Hobbema, “Le Chemin du Moulin” {45 e 
“The canvases were obttained largely’ MP. DSLOLNEL |.) Sastre Pena edie oe Sie Lae 
Rom well known dealers, and some were, Daubigny, “Landscape”; Mr. A Penw | ( 
fequired by Mr. Isman from artists them-| @eton ...... 0 teeters ij, eee 


elves. For ‘the fine large canvas by Jo-'Clays, ‘Coast. of Zealand”; Mr. A. Basis ihe 
feph Bail entitled “Nuns Saying Grace, "| IES Es Cotes Ashe caa ew po Meee vee pe CIES | 
é6y which Mr. Isman paid the painter} Bock, “Sunset, Near Heilsum” ; Mr. : 


(0,000f. and imported at a total cost | Stahton B.\WMetealt, J. “inwde. Redasta boca 
23,000, ‘the sum of $5,500 was obtained, Blommers, “A Happy Home’; Messrs.” ee 
b'The five Millets also were sold at a low iKnoedler'& Gb.0 AES cas ta oe 
igure, varying from $1,100 to $5,300 each.|Caziz, ‘A Quiet Retreat’; Mr. M. D. 
Nhe highest price vaid for any. of this} Sterier, ob eae Recetas veseee Dp 
juintet was for “Spring,” a romantic and) Isabey, ‘Smugglers. Surprised’: Move, 
eautiful conception of mythology. : L. Pendieton ENE Ls old arpa SO IS ete 
‘The pictures which brought $1,000 or! Bail, “Nuns Saying Grace’; Mr. Mie é 
hore each are given below, the Name of! PP UStErn er tA S. Vater eae 
@ artist being given first, then the title,! Millet, “Winter’: Messrs. ‘Durand 
he purchaser and the price:— PUG iain ecules eater agay ee fe boty dine 
liliet, ‘“Phe Road’; Mr. Benjamin | Millet, “Summer’’; Messrs. Durand: © 
PRMIGURE ewes oy cccetgcssre se caee cy eaecra dine ss $1,300 | ihr Boe Nine EGE SELON ST 
biaz, “Women of the Harem’; Mr. | Millet, “Spring, Daphnis and chiossye 
PORT PS COTE: atc ca se bo ssp dese be re ee 1,600! Messrs. Durand-Ruel . ae 7 vs oh 
Rousseau, “The End of the Forest’; The three last named Millets were. 
PMY, J. EON. oe Meee ee tent 2,000 | decorative panels, and were purchase a 
igabey, “Massacre. of St. Bartholo- ; Mr. Isman from the Messrs. Durand-Rwel 


_mew’’; Mr, M. D: er Orner re SS valent a be Has? Paris. 


Es MEN ea PRO 


poy ws Ba se 


iy "Millet. “The Road,” Benjamin ‘Wolfe, "i300; 
Diaz, ‘‘Women of the Harem,’’ M.D, Sterner, 


| $1600; Rousseau, “The End of the Forest,” 


| J. Hilton, $2000; Isabel, ‘‘Massacte of Ste 
| Seraniomiew, ** M. D. Sterner, $2500- Couhet, 
| * Winter in the Forest,’ J. Hilton, $1000; 
‘Jerome, ‘‘Tiger -on the Watch,’ R. L. Rose, 


$1100; Dupre, **Pasture and Cows,’’ Heury 

TR et Age oe Reinhardt, $2150; Daubigny, tlauling Logs in 

E Me if at W Pri Autumn,’’ M, D_ Sterner, Raa Millet “‘Shep- 
a as ‘herdess and Fleck,’’ Otto Bernet, agent, $1100; 

ae s ent a rices Rang Hobbema, ‘‘Le Chemim du A Oke: Sterner,. 


: ‘$1100; Danbi . *‘Land ,” L. Pendleton, 
ing From Eleven Hundred to Ronen Claes ecaunee an we taaee ee ae 


; | Meyer, $1700; Bock, ‘“‘Sunset Near Heilsum,’’ 
Fifty-three Hundred Each | Stanton B. Metcalf, $3150; Blommers: ‘tA 

| Happy Home,’’ Knoedl Co.. $2100; Cavin, 

a —-—- : “A Quiet Retreat, . DD. Sterner, $5500; 

From: ‘The Inquirer /Burean. ] Isabey, ‘‘Smugglers Surprised,’’. L. Pendleton, | 


WANES ty, © : .. | ($1000;° Bail) “Nuns Saying Grace,’ M.. D. 
NEW YORK, Feb. 3.—Prices which Sterner, $5500; Millet, ‘Winter,’ Durand- 


were exceptionally low marked the sale Ruel) $1100; Millet, “Summer,’’ Durand-Ruel, 
of the pictures of Felix Isman, of Phila-| $2200: Millet, “Spring, Beverley oad 


“Ohloris:’* . D d-Ruel, . $5300. 
delphia, which were disposed of tonight aed ace a, Saiameomenttn a 
at Mendelssohn Hall by the American 


Art “Association. Several of the works 
were of exceptionally fine quality. The 
total. sum yielded by the twenty-five 
works was $48,050. ‘The eany asses. were | 
obtained largely from: well-known. deal-| 
ers, though some were acquired byt Mr. 
Isman from artists themselyes, 

The fine Jarge canvas by Joseph Bail 

entitled “Nuns Saying Grace,” for which 
Mr. Isman paid to painter 100,000 francs, 
and imported at a total cost ‘of $23... 
, went for $5500. 
The five Millets were also sold at a low 
figure, varying from $1100 to $5300 
rae the highest price paid for any | 
of this guintet was for “Spring,” a. ro- 
mantic and beautiful rendition of my-{ 
thology. The pictures which brought | 
$1000 or more each are given below: 


2 ee 


) Female Nude,” Asti; Ke Reset onetnie. «cca. 650 
| “<A Happy Home,” Blommers ;. Knoedler & Co. 2,100 
j | ‘A Quiet Retreat,” Cazin; M. D. Sterner..... 5,500 | 
| “Smugglers Surprised, ’*\Tsabey ; L. er 1,000 | . 
“Nuns Saying Grace, ” Bail; M. D. Sterner. 5,500 | 


“Winter,” Millet ; Darasad-Iauclaagisis co. vane 1,100 
eGimmnes,” Millet ; Durand-Ruel*. 2... .. etna cL 
F =O 4 “Spring,” Millet ; Durand Riel wee See sk. oe 5,300 | 
<4 . rn 
ISMAN PICTURE SALE. | fhe Ee ee ee $48,050 


sale at Mendelssohn 
Hall, Feb. 3, of twenty-five pictures 
owned by Mr. Felix Isman, of Philadel- 
hia, told even a worse tale in its total 
ot only $48,050, than, if possible, the 
preceding sale of the pictures forming 
the stock of Mr. Julius Oehme, and 
which it now transpires, and, as was 
‘suggested in this column, went for about 
one-half of their cost price to the veter- 
‘an art dealer. 

The reason for the poor result of the 
Isman sale is not far to seek. The pic- 
tures, with the exceptions of the three, 
‘examples of Isabey, a little female head | 
by Renoir, the examples of Bail, Courbet 
jand Clays, Asti, Blommers and De Bock, 


The auction 


cs ee $48,050. last ‘evening. aA 
| Mendelssohn Hall. The sale was conducted 
-by Thomas HE. Kirby. The bidding was 
i | spirited, but. prices. ine many instances were 


Apsoolktion 3) at ‘Miendelssoha 
New York. Mr. Isman is to é 


jand possibly the Cazin, although not a 
typical example, were too large for a 
private buyer, too sketchy and compara- 
tively poor in quality and there were 
doubts freely expressed as to the correct- 
ness of the attributions of one of the 
Daubignys and especially the Hobbema. 
The dealers were fairly well represented, 
among those present having been Messrs. 


Retreat,” by Cazin,. $2500. for “Massacre of. 
| St. Bartholemew,”’ 
“Women of the Harem,” by Diaz; _ $1300 for! 


i | considered | low. 


the highest price of the bveutiies ‘$5500, 


by -was paid for “Nuns. Saying Grace,” by Jo- 
| seph Bail, by M. D. Sterner. 
_said that Mr, I 4. 
picture, which he purchased from. ‘the ar i 


‘Mr. Kirby; 
Isman paid $23,000 for th ; 


_ Mr, Sterner also paid $5500 for. Bins Quiet 


‘py Isabey;. $1600 for. 
“Hauling Logs in Autumn,” by Daubigny, 
} and $1100 for “Le Sones du Moulin,” by 


| Hopena. aM 
Stanton» B, “Meteait was the purchaser, at. 


‘and engravings of old 
for this reason disposed ‘of 
ings. They did not all ne 
(paid for them. | 

The picture bringing one of th 
er prices was ‘‘Nuns Saying 
by Joseph Bail, wht went to - 


‘it of the aheisten “paying 1 
‘France, and a total of $23,4 
the painting into this Bogue 


at the sale paying $5,500 tor ae 


Retreat, deal ev. ef Charles Cc: in, 
Schaus, Blakeslee, Knoedler, Durand- 150, of “Simset Near Hielsum,” by Théo-| at = 
Ruel, and Reinhardt, buts few private | phite de Bock. Three décorative panels. i Barthonaee, af . 
t ay “ee oe * 
Buyers were in attendance. The hall) | 4 ® ilies a cua lcs wee crape, bape $5.3 
er ay re knot 
was well fill Spring,’’ wer Stanton HK. Metcalf paid 156 for 
well filled, however, with bean Ruel at $1100, $2100 ani et respectively.)  |cinset Near Hielsum,"’ by Theophile’ 
who seemed most interested. The bid- Following are the sales of 'the evening: — ite, Bock, and Hasty Rheinhar. t, 
if 1G) ae ) 
Ane eee Ae - ae on slow, an oe eee Rote (pastel), Renoir; pape eae de teprahice rae : 
| “Yonng Girl Readi Se aaaianaa ’ $800. | Owing to the sale being well ad 
“Mr. Kirby had to work hard indeed to} | sqpurand-Ru “pastels 07 et Bout? )| |vertisee, there was a very Bod d- 
‘arouse any especial interest. Several jamin! Wolf. .44..: cece Kf Bee ee ee tha: al gee 
I s 16s f the Harem,’ BZ, NA ng is e st. 0: b 
vcanvases were sold at the first bid.’ | ep ne ee Saale fe001 |newias ‘of artists, pureheeere aay 
Knoedler, represented by } Mr. Pettee, and | Bass yan: er pier Marg Denby eat, OOM steal “Girl Reading (pastel)—Auguste a 
‘Durand-Ruel had some competition, why | Teas sige loa gait ae PU) | ne Mond -(pantalr- seen eaacale ade 
| Cc RAGS Gla iinteve renee yhere sda la leila’ io) ¥imin p20 ae ah } e Roa astel)—Jean Anco ‘ 
‘it isn’t k for the larg har- “Massacre of St, Bartholomew,” Isabey; |” let;  Borjarin Wolt ee cide pe 
ae! or the pee ee uncial D, Sterner, ..... 2500' | Women of the Harem—Narcisse Virgile 
[acteristic panels of the seasons by Millet. [7 Winker tm ma Pores” ‘Gustave cee 1000, | ,Piaz de la Peta; MD. Sterner. 
jig hd Raa Raia Gite SNE ial ey Se i i e End of the Forest—Theodore Rous- 
jifhe highest price of the sale, $5,500, | “finer, on tie wait FT Gerimes Bo) Mans” afm ecto 
'|Was paid by Mr. M. D. Sterner for the astro naa yin Stes APREY Fes iota vB, ep oagal a Bite | 
‘i Airgae Be rae ups NAT: caer as assacre of St. Bartholomew—Bugene 
| Bail and Cazin. The first canvas cost Morag ae aiabiet Teaver: Mi Regetaiey 900. Louis Bare Taber: M.D, Sterner 2 
| Mr. Isman, who bought it direct from | ‘Halle pee te the Antilenn,” Daubieragy |) | Winter im the Worst austere, Cont 7 
lthe artist, $20,000, with an additional “Shepherdess and Flock, 3, BF. Millets Tiger on the Watch—Gerome; Ri L. — 
aes thie « eatiietar clu Bk ROS Bee Aa ie a he ane at ee 
{$3,000 of duty to import. tie Chemin. du Moullh NEG Hobbema; M. ‘lea, Pasture and Cows—Jules Dr Dupre; Henry 
j : ; T) OSC EnNED is cihtrs ceu ate dap PR ease oagiiacte } ep Ae EASE 
Following are the pictures, artists’| | “coast of Zealand,” J. Clays) A.B. Meyer 1700| |The Fish Market—Isabey; M. Knoed-. 
id i, 1 : Landscape, Daubigny;* L. Pendleton, Asha 2000 Len BOS A vee sola e aioe at Aue er ap rea & 
nd purchasers’ names and prices: “Vision du Captit de St, Helena,’? Ge ee Hauling Logs in’ Autumn—Daubigny; 
} dexr 93 © L. MALECON: aincoh s/s e aisa’Wie'eve Siclere ile 30K) / OPNOT S54 gele tala bie bel eh eialan 
‘Young Girl Reading,” Renoir; Durand-Ruel $850 ' “sunset So ak pr eeeeiee T. de Bock; Stan- |,’ Shepherdess and Picek—Jean Francdis 
| ‘The Road,” Millet; Benjamin Wolf......... 1.300 | hon LE WEetO RAE 1 Syd ee REO Od 3150 Millets: O. Hemet’ (0 oh Bacay ook 
Women of Harem,” Diaz; M. D. Sterner.... 1.600, {| #memale Nude,’ A. Asti; A. B. Mever:... 600 Le Chemin du Moulin--Meindert Hob- 
|| *End of Forest,”’ Rousseau; Hels Raby st, oe 2,000 oak Pay: Home,’® Blommers; M. Knoed- pie i see a pee suet aie 
i “Boys Blowing Bubbles,” Bail; G— R. as ler & PreLieet at face Cae ane VAG 2 : loast 0 aland—Pauw ean ays; 
MEI COAL 21s «pains cc vis nce sc ccale icuiec cece 550] | “A Quiet Retreat, az Bi Hy Ai MSYORe aa) a coitptlpist sien ce 
aioe: St. Bartholomew,” Isabey; M. D. 5 cd “simigeiers Surprised” Ysabey: tu, Pendle- beni Wein aa em aet Pendleton. sat 2 
Mai ehig fo WE lat et 2c G6) Ge doe ov ssi ee 0: be os 2, PSone tno itera (6 lle Sa Slee Maine cian Yh vat ch Rae A 1000 | 6. Be PP RAISED li oes , 
“Winter im Forest,” Courbet; J. Hilton....*°. 1,000 poe Saying Grace,’’ Joseph wore M. D ; aan aioe Hieulsum—Theophile De 
“Tiger on Watch, % Gérome ; ee oy Roses «23 x: 1,100 Sterner.....+.+.0+++ Ree AIRS Seehla aAE 5500 | Bock; Stanton B. Metcalf ..,...... 
| | “Pasture and Cows,’ ? Dupré; Henry Reinhardt 2,150 yb a at Boel esi anel), 5): Millet; 11100 Female Nude—A. cod ee B. finn fe 2 
Ch ot ” Sha ie SE FRAIE] Ss ieiiese bp alot ele sn aleve mbery lalate Yoe/e 4's 
pish Market,” Teabey: Mposdlcr & Coxe 90 | te eerie | | | ht a 
ee er ey Dadbigny; Mb. . Durum Buen helt ase cM rise oe PHM [iy Gur metcekt sean Oharieg: beri 
0 ee Seder eeescceesas 1.30¢ | “Spring, Daphinis | and Chloe’ (decorative | Mig Deh PRG dk Minti a tpt 
| ‘Shepherdess and Flock,” Millet; O. Burnet, | panel), J. FY Millet; Durand-Ruel.,..., §300 | Smugglers Surprised—Bugene Louis 
| agent ....e eee eeeeee Pogptat esses eee ee 1,100 . / Gabriel Isabey; L. Pendleton...... 
re Chemin du Moulin,” Hobbema: M. D. SEAT ’ Nuns Saying Grace—Joseph Bail; M. 
RE ee OO Se eee Coe eee 3 Distornery des aeie rs ccs kien be ee 
Coast of Zealand,” Clays; A. B. Meyer...... get chariot eh bilge see yebint Fran- 
“Landscape,” Daubigny; L. Pendleton........ 2.000 cois. Mille urand-Ruel.......es05 
“Vision du Captif de St. Helena,’ Gérome; L. : | Semmer—Joan, Francois Millet; Rurand- 
RO EPAECEUNL 1e.:svistale ea igte hy os aicido-v cin Tie aibiese Xe ees OOF — FP pet 
“*Sunset Near Hielsum,’’ De Bock; Gaikon j \Spring, Daphais and Onloo-— Jeon: Brae 
(SE PSS Sn 3,150 


ar poe, HO ek wees gegen +9 048,050 | 


Total 


see 
7+ 


tet 
her 


* he 
apa) gs ox 
id $2,0 


Mae 


np vic 


y] 


oy AT a aaa 


; ON FREE VIEW 
+ AT THE AMERICAN ART GALLERIES 


= MADISON SQUARE SOUTH, NEW YORK 


FROM SATURDAY, JANUARY 28Tx, UNTIL THE MORNING 
OF THE DAY OF SALE, INCLUSIVE 


THE IMPORTANT 
| MODERN PAINTINGS 


TO BE SOLD BY ORDER OF 


MR. FELIX ISMAN 


. OF PHILADELPHIA 


UNRESTRICTED PUBLIC SALE 


AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY, NEW YORK 


ON FRIDAY EVENING, FEBRUARY 38rp, 1911 
BEGINNING AT 8.30 O’CLOCK 


CATALOGUE 


OF 


THE IMPORTANT 


MODERN PAINTINGS 


WHICH ARE TO BE SOLD 
AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF 


MR. FELIX ISMAN 


OF PHILADELPHIA 


AT MENDELSSOHN HALL 


ON THE EVENING HEREIN STATED 


CATALOGUED BY 
CHARLES H. CAFFIN 


THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 
LOPI 


Press of Tx Lent & G 


Soa eS, 2 ae n 
, ae CONDITIONS OF SALE 


ae 


x i! fe 

1. The highest Bidder to be the Buyer, and if any dispute 

ise between two or more Bidders, the Lot so in dispute shall be 
ediately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid which 

is merely a nominal or fractional advance, and therefore, in his 

judgment, likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
vedi tely put up again and re-sold. 
The Lots to be taken away at the Buyer's Expense and Risk 
; four hours from the conclusion of the Sale, unless 
ified by the Auctioneer or Managers previous to or 
time of Sale, and the remainder of the Purchase-money 
solutely paid, or otherwise settled for to the satisfaction 
Auctioneer, on or before delivery; in default of which the 
ersigned will not hold themselves responsible if the Lots be 
lost, stolen, damaged, or destroyed, but they will be left at the 
sole risk of the purchaser. — 

5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 

_ Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold sub- 
ject to the declaration of the aforesaid expert, he being liable 

_ to the Owner or Owners thereof for damage or injury occasioned 
thereby. 

6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. : 

~ 7%. Upon failure to comply with the above conditions, the money 

deposited in part payment shall be forfeited; all Lots uncleared 

within one day from conclusion of Sale (unless otherwise specified 

as above) shall be re-sold by public or private sale, without further 

notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 


\ 


gee 
i 


i right of the Auctioneer to enforce the contract made at this Sale, 

io without such re-sale, if he thinks fit. 

a . 8. The Undersigned are in no manner connected with the 
' business of the cartage or packing and shipping of purchases, 
to and although they will afford to purchasers every facility for em- 

a. ploying careful carriers and packers, they will not hold themselves 

an. responsible for the acts and charges of the parties engaged for 

; . such services. 

t Tur AMERICAN ART ASSOCIATION, Manacens. 

i: THOMAS E, KIRBY, Avcrionerr. 
gi Ly 
A 
i 
G 
a , a 
ie : 

i 


SALE AT MENDELSSOHN 


FortigETH STREET, East oF Broa 


BEGINNING PROMPTLY AT 8.30 O’CLOCK — > aren 


AUGUSTE FIRMIN RENOIR 


_ FRENCH 
— (1841- 
G GIRL READING §5°3 ee 
PASTEL 


 —- Height, 24 inches; width, 201%, urs / es ee 


x v5 Or Pile ie group of French creche the two who 
ae > most enisy stood the test of time in ate matter of culti- 


oe ena for it ae become Be cd that apart 
3 a from his extraordinary skill in the rendering of the fugitive 
: expression, he is a colorist of rare imagination. Perhaps the 
most characteristic phase of his art is to be found in his sub- 
as jects of young girls and children. At any rate, no artist has 
7) ee captured more completely the fluent qualities of attractiveness 
in girlhood and childhood that are essentially French. The 
. secret, so far as one can pin it down, is that he of all the im- 
__pressionists has been the most subtle analyst of light in its 
nuances of expression on flesh and fabrics. Consequently he 

has surpassed all in rendering the qualities of caprice and 
tenderness, ripeness and fragrance, firmness and elusiveness, | 

ean and in giving them so elastic and spontaneous expression that : 


- 
my 
: a 


‘3 


they seem to be the attributes of natural life. For it has been x 


well remarked that his subjects never give the appearance of. : 
having sat to him; he seems to have caught them unawares. — 
In the present example a young girl is seated in a chair 
reading, her figure, facing to the left, beg shown in pro- 
file as far as the knees. She holds the book in both hands, | 
poising it free of her body. A bow of blue ribbon with pu 
plish tones surmounts her hair, which in hue varies ae 
to the light from reddish-brown ‘to pale corn. The face is 
softly rounded and warm and luscious in color, enveloped i in i 
slightly bluish atmosphere. A corresponding envelope of hee * | 
tinges the white of her chemise, above the ruffle of which ap- a 
pears a glimpse of the small firm bosom, and the shapely z 
curves of shoulder and neck. Below it is an indication of oe 
green corset, while the skirt is a reddish-brown, forming a aie 
comparatively flat support to the rounded relief of the deli- 
cately modeled arm. 


Signed at the lower right, Renor. 
Purchased from Mess. Durand-Ruel, Paris. 


AN FRANCOIS MILLET 


; FRENCH "a 
(1814-1875) ae tf 
THE ROAD on J3°° 
PASTEL 


Height, 16 errees length, wn Oe 


‘ ial Maur S instinct for essentials and his train ape render 
Ae ne them are jaar all exhibited than in sh oats 


ee Thea, than i in 1 this severely simple scene with its frugality of 
accessories. Everything is vital to the expression of its ap- 
pearance and its spirit. Intersecting, in the centre, a stretch 
; a of brown soil, sparsely patched with stunted vegetation, a farm 
road slopes gradually back to a horizontal sky-line. The road- 
! way is of the same soil as the field, striped between the horse 
and wheel tracks with corresponding vegetation that is 
ip: sprinkled with indications of white flowers. It is bordered on 
ay each side by a little gully, in which the drainage has encour- 
i ay aged a more generous growth of herbage. At the summit of 


the pasture, on the right of the road, is a spinney of young 
‘ trees, fledged with green, in front of which the figure of a ; 
_ shepherdess is inconspicuously placed. Her dull red cap and 
dark blue skirt afford most carefully calculated accents of 
color. Near her a sheep is lying down and others can be seen | a: 
at the top of the roadway, reaching up to browse in the hedge i g 
which encloses the spinney. At the left of the roadway, s shoved 2 
against the sky, is a boulder, near which are two little meagre __ 
trees. Under them some of the flock are lying, while two a ne 
sheep stand detached from the rest. The effect of these ob- 
jects, sparingly and sharply cutting against the sky, coupled 
with the suggestion of an extended spaciousness on the far 
side of the knife-like edge, is extraordinarily expressive. ‘The 
monotony of the pasture, on the right of the roadway, is re- 
lieved by a few yellow flowers, and by a large boulder, from 
behind which grows a small, compact, umbrella-shaped tree. 


Signed at the lower right, J. F. Muzer. . 
Purchased from hes Petit, Paris. 


Ipav 28 hg ON. ie Mb. fo8Xx ~ PB EXXK— 


See /geg oN, “098 


No. 3 


NARCISSE VIRGILE DIAZ DE LA PENA 


FRENCH 


? 

a 
+ 
hd 

$a 


(1802-1876) 
/ {60 
WOMEN OF THE HAREM tee one 


ee i: 
Height, 16 inches; length, 231% "AY 10. Jy Pare 


THE Spanish origin of Diaz nowhere more betrays itself than 
in his figure subjects. Light and color play their part in his 
-landscapes, but under the control of the artist’s love of nature. 

- Inhis figure pictures, and particularly those in which the motive 
is Oriental, he permits his imagination to sport unfettered. 
He orchestrates a color scheme that owes no allegiance to any- 
thing but its own inherent harmony, and invests it with a 
magic of light effects that are assembled solely in response 
to his own exuberant inventiveness. ‘Thus his canvases glow 
like masses of vari-colored flowers in sunlight, or as profuse 
arrangements of richly tinted fruits. They exhale a gaiety, 
luminousness and sensuousness, being purely the creations of 
a painter’s joyous imaginings. 

_ he present characteristic example of this phase of Diaz’s 
art represents a bevy of brilliantly attired figures, disposed 
in a garden scene, the background of which is framed with the 
ruddy brown and tawny-olive foliage of overhanging boughs. 
It is massed against a sky of translucent greenish-blue, which 


shows a burst of white over the horizon. Upon the ground in 
the centre of the front plane of the composition — stands a_ 
hookah on a tray. Behind it reclines a lady whose costume 
consists of a rich brown Turkish jacket over a full sleeved ; 
chemise of pearly lace, above a skirt of rosy golden hue. At 
_the right of her a maid sits cross-legged, nursing a sleep 
‘baby on her lap. She inclines her head toward another ¢ irl, 
seated beside her, whose head, also inclined toward hers, is i 
distinguished by a cap of geranium-red. At the extreme Rae 
sits a woman, draped below the waist with a fabric of deep 
sapphire-blue. At the left of the central figure stands an 
attendant, holding a toy-spaniel, while farther to the left is 
a woman, whose hands are folded on the lap of her saffron-_ - 
colored gown. In the shadow, behind, appears a girl in a Be 
brown jacket, with a red drapery hanging from her left ee 2 
The ensemble presents a harmony of jewel-like colors. — : 


Signed and dated at the lower right, N. D1az, ’64. 


eS: 


No. 4 
THEODORE ROUSSEAU 
FRENCH 
(1812-1867) 

THE END OF THE FOREST 


* 


PANEL 


) 
we, 


ee In. A Ta ois 


Tuis picture is a replica in smaller size of the same subject 
in the Louvre, which was acquired by the French government 


in 1855. It is reproduced in Richard Muther’s “History of 


bP) 


The forest is behind us and we are look- 
ing out from under an arch of foliage over the flat country 
toward a horizon, rosy with the twilight afterglow. It is a 
characteristically beautiful example of Rousseau’s intense and 
reverential feeling for the spiritual in nature; the foreground 
presenting a strenuous realization of the vigor and stability 


Modern Painting. 


of natural forms, the vista beyond a mystery of sensitive sug- 
gestion. The trees, which are massed on each side of the fore- 


ground, are the oaks which he loved best of all trees to paint. 


At the left there are two main trunks exposed fully to view, 
a third showing behind them, while a shattered stem leans 
outward from the group. Correspondingly on the right there 
is a shattered bough, the recent fracture showing raw and red, 
while another limb lies against the trunk from which it has 


flects the glow of the no in Sone of rose and cream anti ie 
lavender. Silhouetted against these hues are the red body fk 
and white face of a cow, standing in the water, facing to the | 
right. Another has just entered the pond behind her ar 
stoops to drink. Reedy vegetation appears above the surf 
of the water as it nears the opposite bank, where a small tree 
that leans abruptly to the right spreads a faint mass of y 

lowish-green leafage athwart the sky. A cow stands beneath 
it, and on each side two others dot the level pasture. 'The lat- 
ter recedes vaguely till it merges with the horizon, above the 
line of which are visible a small tree and bush. The rosy — 
vapor that fills the lower sky cools gradually to lavender and fe 
finally to a vapory blue. 


Signed at the lower right, Tuy R. 
Purchased from Georges Petit, Paris. 


JOSEPH BAIL 
FRENCH 

fe i 

ss: BOYS BLOWING BUBBLES ee 

Height, 251, inches; length, 311, eu Gp Cys ae 


oe with a taste oy ees for the fascina- 


painting that is unrivalled. If for no other reason . than that the 


a world, as he views it, is spotlessly, brilliantly clean, fragrant 


_ with the wholesomeness of clear light. He is a “luminarist,” 


ri _ who has brought the plein air of out-of-doors into the inte- 
riors of domestic life. ‘The scene of the present picture may 


be a kitchen. At any rate, a well-scoured kitchen table ex- 
tends from a window on the left across the front of the com- 
position. At the right end of it stands a boy in a brown 
jacket-jersey, with an apron around his legs. Resting his 
left hand on the edge of the table, he leans over a green 
earthenware bowl, filled with soap-suds. As he blows through 
a pipe their surface is agitated into foam and bubbles. Mean- 
while, on the far side of the table near the window, stands 
another urchin, one-hand firmly planted on the table, while 
the other holds a pipe, removed from his lips. To it is sus- 


peea its. fae the a of ae wad, 
; on: lie a cloth and po ladle and i in rue 


4 ity of life, both human and AGT that is the ¢c 
virtue of this artist. 


Signed at the lower right, Batt, Josepn. 


Purchased from Messrs. J. E. Caldwell & Co., Philadelphia, who pro 
painting direct from the artist. 


_ - FRENCH 


(1804-1886) 7 { owt “0 2 


AS 


yA 


E OF ST. BARTHOLOMEW ~~ 


.M assacre of St. Bartholomew, which mee ne No 


uate - 


2 icc commenced on the night of August 23, 
and, lasting several days, produced a role of carnage, 
lak tied at 20,000 to yu 000 lives. The wretched 


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‘The episode depicted in this picture represents a deviation | 


ti - from, Isabey’s usual choice of subjects. For he belongs in 
| K ee E the company of Watteau, except that while the latter painted 
r _ the romance of the Court life of his own time, Isabey studied 
an imaginary world of the past; the picturesque period of 
Pompadour and Rococo, of velvets and satins and elegant 

posturing. Yet, living in the days of Delacroix and Victor 
1G sears. Hugo, he caught also something of the romantic spirit of the 


ROO an 


first half of the Nineteenth Century. There is a hint of turbu- _ 
lence in all his work.. In the present example it is more pro- — a) 
nounced, yet one may note that the subject is generalized; 

that there is nowhere an accent of individual poignancy. The ‘ a 
scene represents the interior of a church, with the pipes of 7 
an organ rising majestically at the left of the composition a: 
in two tiers, supported upon columns. ‘To the level of the — _ 
top of the latter a staircase mounts from the floor, leading _ 
to a gallery which intersects two of the massive round pillars — 
of the nave. Above the balustrade appears a surging mass 
of figures, the murderers and their victims, while some of the __ 
latter are being flung from the gallery and hurled down the 
stairway. Halfway down the steps a woman lies prostrate, 
and at the foot another is rushing with arms extended toward 
a woman who is praying beside a pillar on the right. Another — , 
woman, at the left of the stairs, clasping a baby to her breast, ee 
is dashing frantically toward a group in the centre of the fore- 
ground. Here a man is seizing a woman by the throat, while 
a child clings to her skirt and her husband is stretched a corpse 
behind her. The floor at the left of the foreground presents 
a confused havoc of armed men, their victims and piled up 
bodies, in the centre of which stand three white-frocked monks, 
stirred to demoniac rapture, holding aloft the crucifix, while 
one of them is also brandishing a rapier. | 

Signed and dated at the lower right, E. Isasey, ’86. peer Mi ues 
Collection of M. Philippe George, Paris. /89/- # 3/-Jeo MNXX%— 


Collection of P. A. B. Widener, Philadelphia. 
Purchased from M. Knoedler & Co., New York. 


Widssssn batt bb 405 —~ 


L0bKO Hat 1ofob _ BP Sxxx= 


No. 7 


GUSTAVE COURBET 


FRENCH 
(1819-1877) 


WINTER IN THE FOREST / 


Height, 29 inches; length, 36 inches Vn uf ig Daas 


“REALISM—G. Courbet” was the sign, at once a declaration 
and a challenge, which Courbet hung over his separate booth 
at the Paris Exposition of 1855. His art was a protest, both 
against the classicism of the Academic School which under 
the leadership of Ingres was trying to revive the manner of 
Raphael, and against the Romanticists, whose vision was con- 
stantly toward the past. The present was his theme and his 
business to represent it as he saw it, free of personal coloring, 
letting the thing itself that is represented furnish its own sug- 
gestion to the imagination. Quite a remarkable example of 
Courbet’s point of view and method and also of the intrinsic 
truth of his motive is realized in the present picture. It rep- 
resents a scene in some forest in winter. There is a pool in 
_ the foreground, on the far side of which stands a young stag, 
whose antlers are just sprouting. He sniffs danger. For, 
hidden from him, behind a boulder on our side of the pool, 
stands a hunter, leveling his gun to take aim. He is at the 
foot of a steep bank that rises to the right, composed of diag- 
onal strata of slab-like rocks. ‘The contrast of their darkness 


- Z | 
‘nae ‘nal 
with the white of the snow is interrupted by the rosy gray of 
the dried leaves of oak bushes, which are scattered bet ‘a 
boulders and massed at the top of the elevation. The w 


the far side a little glade extends back to the recesses 
wood, bounded on the left by a bank, where dead f 

the snow with golden brown. It is crowned by a 
apparently an evergreen, for the masses of its forn 
ally smothered in snow. At the end of the glade tl 
bushes, between the stems of which a peep of blue y 
appears, spire gracefully against the cold blue sky. 
whole scene not only presents an extraordinary ree 
actual appearances, but is instinct with the crysté 
and hush of the air, so characteristic of a forest w 
snow. 


Signed at the lower right, G. CourBET 
Purchased from Mess. Berheim, Paris. 


ROM ihe ialation of a high plateau in the immediate fore-. 
g ground a tiger watches me invasion of ae kingdom of solitude 


VS iz 


h ii, Feeding from the ae like a moving snake. The 


“oa s oe Peer s body, as he crouches on his hind quarters and straight- 
ens his forelegs to lift his head, is tense with vigilance, the 


tail stiff and curling at the tip with excitement. He casts 


hf 3 a faint violet shadow in front of him, while the sun gleams 


on his richly striped pelt, heightening the brilliance of its 


contrast to the pale sand around him, the aridity of which is 


meagerly interrupted by tufts of wiry vegetation. The plain 
below is an uniform drab, broken only by the dark miniature 
masses of horsemen which are enlivened with specks of white 
and red. ‘The lower slopes of the opposite hills are dyed to an 


_ orange-yellow by the sunshine, while the walls of rock above 


bei 
ON THE WATCH ee oe 
i bight, 25 he: length, RI inches (fe ee Gere 


them are shadowed with lavender and the saa 
and platforms show white and pinkish buff. Toward 1 
a peak, streaked with yellow, rises like a cone against + 
sky. The picture is a characteristie-product of Gé 
to Egypt, from which he returned in 1857 with a he 
sense of color and the beauty of light, while his bent o: 
that was naturally toward the academic, had become. 

by the romantic suggestion of Oriental life. 


Signed at the left of the centre, J. L. Gereme. 4, ee 
tT one ae ore 
Purchased from M. Knoedler & Co., New York. <_. € veh i 


_ FRENCH 


-_ (1812-1889) 
g it 


eae ro 
o Pa ASTURE AND COWS Se. | 
2 : a ee 
or 35 inches, length, ied inghes — ee fe 


mz ak nonce his usual pre meee in 
dramatic intensity, Dupré has here presented a 


ne of eae tranquility. The blue of ae ages 


a ‘the left of. hie foreground. Meanwhile, c on the right of the 
fc reground the light is interrupted by an oak tree of one- 
sid ed growth, with a bare branch projecting at the top. In the 

shadow which the foliage casts appear two cows. One is lying 
down with her face to us, while the body of the other is seen 
ir in profile as she feeds, apparently ne: 


vy Bigned at the lower left, J. Dupre. 
Purchased from lhe ie Petit, Paris. 


q 0° 


No. 10 
EUGENE LOUIS GABRIEL ISABEY 
me FRENCH 

he (1804-1886) 


THE FISH MARKET 


Height, 393, inches; width, Pie os. Ri 


Tue peculiar esprit of this artist’s style is admirably repre- — 


sented in the present canvas. The exuberant prodigality of 
the composition reveals the buoyancy and raciness of hisimag- 


ination, tinged with a suggestion of romance, delighting in the 
piquancy of the rococo and coquetting with the natural. He 


is the irrepressible gallant of the French romantic movement, 
of which Delacroix was the profound and serious protagonist. 
In this example the shore slopes up from the foreground on 
the right of the composition. Some large flat cream and pink 
fish are lying on the sand and behind them stands a fisher-girl. 
Daintily dressed in a white cap, black bodice and panniers over 
a plum-red skirt, she would be at home in a fancy-dress ball. 


But at present she is trying to sell a fish that she holds in 


her hands to a handsomely dressed lady and gentleman. His 
costume consists of a powdered wig, black velvet coat and 
breeches and a green satin waistcoat, while the lady is attired 


in an elegant pale blue pompadour gown with voluminous — 


train, open over a petticoat of a darker tone of blue. Be- 


: i 
y 
4 
Fy a 
Ma 


tog 


iy aoe who delicately holds 
se. ( ‘Other fisherwomen are seen higher 
; in Bia wail, supporting a terrace. 


7 cia rocks a group of ailhcats with bare 
e enlivened with fishermen. 


~ 


ac om 


he lower left, BE. Isazey. 


40 “e 
Pe 


Noam 
CHARLES FRANCOIS DAUBIGNY 
FRENCH . 


od 


“HAULING LOGS IN AUTUMN 


Height, 31 inches; ed ave WO Jim 


(1817-1878) 


In this unusual and presumably early example of the ave ae 


a road, curving around from the right, ascends between steep i 
banks to the front. Two powerful oxen, red with white mark- 
ings, are hauling up the incline a timber wagon on which rests a 
a tree trunk. A man in blue trousers is seated on it, talking 
to the driver who has left his team and walks beside him. The 
banks are tangled with the gnarled and curved roots of beech 
trees, which have been laid bare by the falling away of the 
soil. A few golden-brown and red leaves lie on the ground, 
while others are interspersed with the green foliage growing 
on the trees. On the right hand is a curiously stunted trunk, 
from which project two slender upright stems. Farther back 
on this side appears a tree, massed with orange-yellow foliage. — 
It stands on the far side of the roadway whence meadowland, 
sprinkled with trees and intersected by a farm road, leads back 
to wooded hills that are wrapt in violet atmosphere. Buoyant 
white clouds float loosely in the sky, which at the zenith is 
clear blue. ‘The picture is radiant with the coloring and senti- 
ment of early autumn. It is a highly interesting example, full 


a aie of Dackicay’ s art, since it 
o of his consummate skill in summarizing 
ene. It was in no haphazard way that he 
ined ae ry thesis - One sees” him here in the preliminary 
st uge of an ysis, studying ces and rendering exactly the 
ies of form and structure. In the search for these he 
te of the brilliance " the light as ¥ poet a 


oe 4 ad 
= i 


4 iS aunt er Died 


hi tae 


= at the ree: an C. Daveteny. 
ction of bof Habiges Petit, Paris. — 


ion A. J. im Philadelphia. one El - g NAX 
rae s 


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in tee oe ee 


ie 


No. 12 
JEAN F RANCOIS MILLET 


FRENCH 
(1814-1875) 
SHEPHERDESS AND FLOCK 


Height, 3614 inches; length, 47 inch | Phe 


A conspicuous feature of the compositiofy is the fruin 1 oF 
round tower that crosses the summit of the pasture. Pierce 
by an arched entrance, it projects its silvery-drab mass sin < 
a creamy sky. It is surrounded by a sort of chevaux de rise, — ; 
a bristling, tangled fence, composed of tree-limbs, which eek Pe 
men, one of them distinguished by blue trousers, are repairing. 3 | 
Two scraggy little trees interrupt it on the right, and on the . 
left appear two taller ones, while in the distance on this side ae 
are the indications of a few cottages. The pasture, yellow aS 
and dried with summer heat, slopes down to the foreground, __ 
where a shepherdess is tending her flock. The shorn bodies _ 
of the sheep are bunched at the left, one of them lying a little 
removed from the rest. The girl, stick in hand, stands at the 
right, motionless, in that attitude of habitual indifference to . 
the surrounding nature, which gives such a poignancy to Mil- 

let’s creatures of the soil. Yet the girl’s form, with a blue 

kerchief lying over the head and the firm upright figure clad 


in an olive-tawny gown, has the dignity of mass and rhythm — 


t bs eile te the natural appearances of 
SS a . aang of delicate ee while the 


1O0ee 
I y — LE CHEMIN DU MOULIN. 


i 
ca 


No. 18 aon 
MEINDERT HOBBEMA a 


DUTCH 


(1688-1709) 


Height, 37 inches; length, 4914 inches 
‘ ae yee dtr my 


Tue inexhaustible picturesqueness of a watermill and its su ar- % 
roundings is here, as so often in Hobbema’s pictures, the mo- hy 
tive of the subject. The front plane is occupied with | wal a 
tinged a greyish-olive, on the far side of which, filling the right ei 
half of the composition, lies a small pasture. Near a wooden é 
step affixed to the bank for the convenience of washing linen, a 
is a tree stump, while farther to the left grow two slender, — 

broom-shaped trees with loose whitish foliage. Still farther to 
the left is a group of sturdy oaks, whose foliage forms a united — 
mass above the inlet of the pond. This stream is barred by Pe q 
a rail and posts which check the swift current of the water ’ 
and stir it into foam. In the rear a fall of water pours - from : Bs 
a wooden chute which parallels the wall of a red-tiled build- — 
ing. At the extremity of the latter another building abuts at — 
right angles, having a mossy roof with red coping tiles. Both | 
buildings are constructed of timber frames, filled in with plas- 
ter. At the left of the scene a road comes around from behind 
the buildings. A dog marches along it in advance of a wagon, — 


‘team, of horses, one white, the other brown, the 
ing seated on the latter. On the floor of the wagon 
an old man and woman. A horseman rides beside 
eee and a man on foot follows it. On the far ous of 


n arch af Purine tike, 4 prairie schooner. It is 


Jit.) i ie 


PAUL JEAN Cl ays 
FLEMISH 
(1819-1900) 

COAST OF ZEALAND — 


Height, 291, inches; length, 53% in 


the rhetorical style of representing marine subjects at 
bring to his study of the sea and shipping the vision, | 
to facts with which other artists were studying the I: 
His pictures exhibit a truly Flemish skill of solid p 


impair their largeness and unity of feeling, since every 
has been viewed through the all-embracing medium of li 
In this example the water of the harbor extends me 
front, its tawny-olive surface dyed with the creamy reflections _ 
of the sky, which is fermenting with scattered, swollen masses = 
of warm white cloud. At the right of the foreground a group 
of shipping is moored, conspicuous in front being two brown- a 
hulled barges, similar to those which ply up and down the — . ; 
Scheldt and Rhine. Their sails are hanging loose, those of the 
foremost vessel consisting of a purplish-red squaresail, a white 
mainsail and tawny-buff topsail. The barge to the right of 
this one carries a reddish jib and white mainsail. Farther — q 


n wae ~ the casei right, J. Crays, 1877. 


ra a n Catalogue of the P. J. Clay’s Sale, Paris, 1900. -#/0 - Jon Maxx . ae fr dachal -Adlu, 
al from M. Knoedler & Co., New York, 1904. OS2L/— Jew 1ofox BAX KK 


< 


No. 15 


CHARLES FRANCOIS DAUBIG 
FRENCH a 
1817-1878 


LANDSCAPE 


Height, 27 inches; length, 57 eG 


DavupigNy may or may not have ae to a 
upon this canvas, which was included in the sale of his 
after his death. It is not a finished picture in the o: 
acceptance of the term; yet it is difficult to see how i 
be MONEE as a yicietie peste — the ee 


artist’s method of laying in his composition. a seems 
done with rapidity; certainly with a free and vigorous : 
cation of the brush, fully charged with pigment, treatir 
surface in masses, yet with great variety of color 
tone and already with suggestion of the individual =e 
acterization of the scene. From the foreground extends. a es 
level stretch of ground, which, as one sees so often in France, 5 
escapes monotony by reason of the variety of cultivation with — as 
which it is broken up. For it is apparently one of the sections __ 
of ground in the neighborhood of every village, subdivided 
into lots, where the peasants grow their separate crops of — 
vegetables and cereals. The rich brown soil is streaked with 


On the other hand they spread more generally 
: where the light of the setting sun still lingers. 
: angs over the hill already alluded to, a primrose orb, 
. a blur of mist. Eo the a of it Hives popes rise 


Agree tape 


ornare imeem nese arr 
rors & ag ge ee ead a vi 
ae CR Ne ‘ Bye ot 
i eat . 
, es F : 
“aul 


Q 


| No. 16 eT 
JEAN LEON GikROME i =g id 
| FRENCH ‘sa 
(1824-1904) 


VISION DU CAPTIF DE ST. HELENA 


wae Ge | 
Upon a rock at the left of the foreground stands ai 
chained by one leg to an iron stake. An imperial erc 
above his head, surrounded by a golden aura. As 
dashes up against the island of his captivity, he loo 
the ocean, where a phantom enemy is emerging 
water and deploying in the air-like a swarm of flies. — 
direction a column of cavalry of the Guards can be dis 
in another a battery of artillery. Meanwhile the day 
down; the zenith has already paled to faint grey-blue, and a — 
bar of orange cuts athwart the rosy oe of the make ty y- 


Height, 35% 


the Cire water. 
Signed at the right of the centre, J. L. Gerome. — 


Purchased from M, Knoedler & Co., New York, who procured the painting dees 
from the artist. 


Art, Maw 297 ba har SXKK— 
sd: Iw sion # AUEK— 


Beetoraty DE BOCK 
DUTCH 
(1851- —) 


_ SUNSET NEAR HIELSUM 


ra Height, 42%/, inches; length, 4934 inches 


ene eminence. Like the other leaders.of the School, he 
2 As fi ‘st and foremost an accomplished technician, with a vig- 
=i “orous ae fluent brush-stroke ae ae poly Bie 


mak es ee, live vividly before one’s eyes. He also shares his 
ese s affection for the unostentatious sentiment of 
the Dutch landscape, where nothing clamors for recognition 
but all unites in a harmony of never-failing human compan- 


a -ionship. The present picture shows a narrow river, crossing 
_ the composition horizontally and separated from the spectator 
“a f by a strip of grass. The margin is feathered with flags and 
-__-pulrushes. Along the left of the farther bank a row of wil- 
é lows fringes the water’s edge, above the grey-green foliage 
nits of which appears a long red roof, adjoining a taller building 
with a white gabled end. Beyond is a line of four poplars, 
spiring against a sky that is scattered with clustering creamy, 


fees aa Fb. xxx ~ 


082 . Siph afah 8 EXXX — 


salmon and rosy drab clouds. A sim 

occupies the right of the sky jandle ; 
The middle distance at the might sh shows 
soft olive-green in hue, extending to 
trees appear the cheneeeedt of a church » 
mounted by a little spire, two red-tiled h 
brown roof and a single windmill. ‘The effect of 
as evening approaches, is admirably expressed. _ 


Signed at the lower right, THEo. DE Bocx. 
Purchased from M. Knoedler & Co., New York, 1906. 


ne ASTI 


ITALIAN 


ive Ww 
7 
< yore Se 
hs 


Z Contemporary lp 42 


| FEMALE NUDE 


2 Re Height, we ‘inches; length, 68 inches (. (2. 


HE rede figure of a woman is reclining upon a sofa which, 
red with a creamy and tawny material, extends across 
hole of the foreground. Her head, at the left of the 
ition, i 1S raised upon a cushion, over which streams the 
ant waves of her auburn-brown hair. The left arm is 
with the hand on the crown of the head, while the 


a. lies oo8 the sofa, paralleling we pees: The right 


‘Blgned at the lower right, A. Asti. 
Purchased direct from the artist. 


BERNARDUS JOHANNES | 
DUTCH , 
(1845- +) 


A HAPPY HOME - 


Height, 531, ny wh fz? 64 inches 


Amone the pandeed Dutch painters of the oe ee 
Blommers has long enjoyed a reputation, second only to pak - 
of Josef Israéls. To some extent he has suffered from his” Bp 
popularity, being tempted to over-much and hasty produc ~. 
tion and to catering to the public’s love of excessive senti- if S 
mentality. It is therefore refreshing to confront so sterling : 
an example of the artist at his best as is represented in this aa 
picture. For it is painted with magnificent assurance and 
matured deliberation, and embodies a fundamentally human | 
sentiment. ‘The simple meal, which has been served in a pew- ce ie i. 
ter dish, being finished, the young husband and wife linger — ey d q 
at the table to indulge in their mutual devotion to the baby. ag 

The man, with his hat on and dressed in a buff-brown waist- __ aa 
coat and greyish-drab shirt, sits at the left of the composition. 5 
He has removed his pipe from his mouth, and with his elbow 
on the table rests his chin in his hand, while with head on one 
side he gazes smilingly at the baby. The latter lies on the 
knees of the mother who is seated in profile at the right of 


at the child, whose little arms are 

n is dressed in a tawny-drab jacket and a 

her blond hair being seen against the re- 

lace. The interior is simple, but marked 
rt that betoken the good housewife. 


& Son, New York. 


Is are laid on her lap, while her 


JEAN CHARLES ca [Nese 
FRENCH 

(1840-1900) 
A QUIET RETREAT 
Height, T11Y%, Pips ot width, 51 inch 
Me) ; 
THis picture represents an unwonted aspect of Cazin’s 
For the landscapes of his later life and the estimation in w 
they are held may tend to obscure the fact that his e 
reputation was based on figure subjects. Many of t 
executed in the late seventies and early eighties, involved se 2 SS ae 
tural themes and established the vogue for interpreting the a | 
spirit of the old story under conditions and in surroundings — 
of modern life. They were also in line with the art of Poo 
for the motive was balanced equally between the landscape 
and the figure, the former contributing its quota to the senti- , 
ment of the picture. It was this feeling for the relation be- ae 
tween human life and its natural environment that, even a: tere : 
Cazin had discontinued the painting of figures, determined 
the quality and expression of his landscapes. Human spirit __ 
seems to penetrate the hush of these vacant places. 
In the present picture we have the hush without the va- 
cancy, for the expression of the lady as she sits reading per- 
vades the spot, and the latter’s pensive quiet mingles with her 


——_ a 


absorption. It is a retreat, presumably in the artist’s garden, 
where a summer house, constructed of bulrushes held in place 
with strips of split hazel, occupies almost the entire back- 
ground. Through the opening one discerns a seat, but the 
lady is sitting on the ground immediately outside, her book 
resting on the end of a simple wooden bench. Her left hand 
is held between the leaves, while the right supports her head. 
The auburn hair is dressed closely to the head, and her shapely 
neck rises above a simple gown of deep slaty-blue material. 
i The lower part is hidden by a bushy mass of phlox with lav- 
t ender rose blossoms that grows underneath a winding sapling, 
which is lashed near its foot to a supporting stake. On the 
ground at the left is an open book, on the pages of which 
lies a yellow spray, shaped like a poet’s wreath, while near 
by are three apples, one of them showing a cross-cut. At the 
right of the foreground a cream-colored china bowl is reflected 
in the water of a tiny pool. Farther back, on this side of the 
picture, a shrub, bunched with needle-like foliage, clusters at 
the base of three tree-stems. 


iE 
iE 


Signed at the lower left, J. C. Cazin. 

Exhibited at Exposition Arts Decoratifs, Paris, 1882. 

Illustrated in Dumas Art Annual, Paris, 1882. - FIK M.X. Gaak ee 
Purchased from M. Knoedler & Co., New York, 1902. 


eat Z, 
4. Mare) dion Lmda /700 #37 LY oMS.AX Dusfot 4. Gross 7 AO.8XX 
Yueh Bop saya uma posited in 1899 


4 
A Saths Sr fine S00 LAEXAX ouw/i 


fy * 


No. 21. 


‘EUGENE LOUIS GABRIEL P ISABEX 


PRENCH, 4") oe “A ae hy 


ae (18041800) aaa a a 


at 


SMUGGLERS SURPRISED 
Height, 60Y, inches, length, oui 


THE scene is one of romantic impressiveness, easily associated 
in the imagination with grim tales of wreckers and the excit- i. a 
ing episodes of smugglers. The coast looks inaccessible; a a 7 
forbidding wall of nearly vertical rock, built up by some > 
natural convulsion with > layers. of ‘Titanic masonry, “and 
crowned with bastions and towers of living rock that have Bb ; 
withstood the time-long bombardment of the elements. Itis 
further protected from assault by advanced redoubts in the — 
form of jagged reefs and rocks around which the sea boils and © a ‘ 
tosses into foam. The shore is to be approached only by small | dl 
boats warily: truly a likely haunt for smugglers. It would 
seem that a vessel has been sighted and under the impression __ 
that she is foreign the smugglers have pushed off in their 
boats, laden with kegs of French brandy. ‘They are massed 
beneath the cliffs at the left of the foreground. Meanwhile 
the vessel has run up the tricolor and fired a shot from her 
stern. All is confusion and excitement. In the boat nearest 
the front two men, keeping a lookout, are crouched in the 


bow, which is rearing up on the crest of a wave. They have 
passed a word of warning, and a man in a red cap and blue 
jacket, who seems to be in command, is standing by the gun- 
wale shouting directions to the occupants of the boats in the 
rear. Meanwhile the crew of his own are hurriedly casting 
overboard the incriminating evidence of the brandy kegs. The 
summits of the cliffs still glow with the warm reflection of 
a rosy olive cloud which, however, toward the right of the 
sky grows dark and threatening. The lower rocks are wrapt 
in shadow, against which the boats and brightly dressed figures 
make a bouquet of varied and lively color. 


Signed and dated at the lower right, E. Isaney, 1837. 

Collection of Aquado, Paris. 

Collection of M. de Romeuf, Paris. : 
Collection Boussod, Valadon §& Co., Paxts.- Sly MOR — # a] — £M/ xX— 
Purchased from M. Knoedler & Co., New York, 1903. 


I8IF, B.brte 8.02 


b. ¥ Fucked htarfokR g 
Uhioned Man 26405 


MLK. /08 43 


Yo bo“ 8xx —~ 


No. 22) 
JOSEPH BAIL | 
FRENCH 
(1862- ) 


NUNS SAYING GRACE 


Height, 60 ” ae OLE 


is strikingly exemplified in this handsome canvas. The latter, 
is also characteristic of much of his best work in the cnc of 
subject, since this artist has shown a preference for scenes of 
convent life and of institutions maintained by nuns for the 
care of young women. Doubtless the reason is the exquisite 
order which prevails in such surroundings, and the fastineae i 
tion of the simple dignity of the white-frocked garb which 
as in this picture, is the habit he prefers. Indeed, Bail may 


ist a 


have been influenced in this direction by Zurbaran; at any rate _ 
he rivals the Spanish Seventeenth Century painter’s treatment 
of the white-frocked monks in their choice and simple environ- 
ment. With Bail, however, the other’s severity of style gives | ; 
way to a charming amenity, one may almost call it a spirituel 
coquetry, due to the loveliness of his effects of lighting. Here 
the nuns are assembled for their déjewner, standing behind 
their chairs around three sides of a large table. Two are at the 
head of the table and six on each side, ey with, heads bowed 


tt ea rods Lage dbs 


hd 
ut 


+ ry 


aL Ra its artistic interest. For the figures are seen to 
floor and, with the exception of the profile of the fore- 
- va no faces are msible. It is a perspective 2s white 


cing tang for form eis an exquisite delicacy. A corre- 
spo ndi ding charm « of painter-like quality appears in the treat-_ 
[ the white tablecloth and the objects of still-life ar- 
i Ee eercnous among these are three white 


No. 23 


JEAN FRANCOIS MILLET 


FRENCH 
(1814-1875) 


WINTER 


DECORATIVE PANEL 


Height, 81 inches; Gai Rrrwh 


In 1864 Millet to his great joy obtained a commission to 
execute four decorative panels for the dining-room in the 
mansion of M. Thomas de Colmar on the Boulevard Hauss- 
mann. Having received an inkling from his friend, Sensier, 
of the possibility of the work, he had planned a series of de- 
signs, more elaborate and costly than M. Thomas had been 
expecting. However, through the persistence of the architect, 
M. Alfred Feydeau, they were finally accepted and Millet, 
on April 4, 1864, writes to Sensier: “I am extremely pleased 
with the order which you announce and which has been con- 
firmed by a letter from M. Feydeau. It is like a happy sur- 
prise to me, for in truth I am so little accustomed to things 
of this kind, that without thinking it impossible I did not dare 
count upon it. Praise be to God! It is for me to do my 
best.” The artist executed the panels in his meagre studio 
at Barbizon, where there was scarcely room to hang them 
In another letter to Sensier he describes a visit of his patron 


to view the progress of the work and concludes with sly humor: 
“Certain people have said to him (Thomas): ‘You must in- 
deed be a man of great taste to have dared ask M. Millet to 
do these paintings,’ etc. And he congratulates himself for 


the audacity that the strength of his taste has given him, for 
he does not seem to think that Feydeau biased his taste in the 
least.” Millet chose for his subjects the “Four Seasons,” three 


of which are in the present collection, while the fourth passed 
into the hands of the late King Leopold of Belgium. In 
preparation for his work the artist visited Fontainebleau, 
studying particularly the decorations by Rosso and Prima- 
ticcio of classic subjects. He comments on them to Sensier: 
“The costumes of their characters are ridiculous, their taste 
doubtful, but what creative force! And how strongly this 
rude simplicity reminds one of the antiquities of the times! 
It is as simple as a fairy tale and real as the ingenuousness of 
olden times.” The final sentence might be applied to these 
decorations of Millet’s, for while treating his subjects poet- 
ically he has preserved his own fondness for rusticity and real- 
ism. The themes, in consequence, as he has represented them, 


have all the artless charm of a true fairy tale. 


The subject of “Winter” is borrowed from Anacreon, who 
tells of how a childless couple welcomed Cupid into their home, 


when he was like to have perished in the snow, and were re- 
warded with what they most desired. At the left of the com- 


position half of an arched entrance is seen, in which the figures 
are grouped. With his back to the masonry stands an old 
man, whose rubicund face has a white moustache and beard, 
while an ivy wreath surrounds his bald head, as if he had just 
left the banquet. As he stoops, his right hand raises his 


’ 


5 heron 


golden-brown mantle sie as x 


body. ‘Two strings of holly-berries I | 
hair and her costume consists of a yellow ¢ . vel 
' | greenish-blue tunic, which is sprinkled with heartshaa i 
j vices. Cupid stands in the snow, with one foot on the d 
: a Hone his fees under his a His only arti : 


part of a stunted tree-trunk. The scene at the right presents 
a cheerless vista of snow with vague indications of trees. a 


Signed at the lower left, J. F. Mivier. © 
Purchased from Mess. Durand-Ruel, Paris. 


AN FRANCOIS MILLET 


FRENCH 


"-— suMMER 


DECORATIVE PANEL 


ml Tur | Pee instances under which this panel was painted are 
< i described under No. 23. Standing in an attitude of splendid 


re freedom and unconscious assertion a young girl faces us in the 


7 “cent tre of the foreground. Her form, mellowed in color by 
ee xposure to the sun, is nude save for a geranium-colored drap- 
ae y as far as the knees, fastened around the waist with a gold 
ci | _ band and slightly looped up on one side with a strap. Her 
ag right hand, planted on her hip, holds a sickle, the left is lowered 
> Ae to support a winnowing basket. Her corn-colored hair falls in 
a : a braid over each breast, and her head is crowned with wheat- 
| sg be ears. We think of Ceres, and there is enough in the dignity 


and beauty of this figure to suggest the classic goddess of the 
harvest fields. Yet she is no marbleized academic figure, but 


“li 
2 


Mees . 
_ palpitating with life; a girl of the Barbizon fields, supple and 
strong and wholesome; her face serious with the realities of 
toil, but with a nature which toil so far has only developed into 


the plentitude of girlish maturity. At her feet lie a basket 


Height, a inches; width, 52, KO ates pane 


of loaves and a sack of grain. In the rear spread the harvest 
fields, yellow in the sunshine. Immediately behind her at the 
left some sheaves are piled, on which the magnificently robust 
forms of two women are partly visible, reclining in luxurious 
sleep. At the right is a group of workers, reaping, gathering 
and binding the sheaves, while in the left distance wheat-ricks 
are seen, with the harvest wagon alongside. So far the theme 
has been a pean of labor; but in the distance on the right 
another note is struck. The classic idea is reproduced more 
closely in a suggestion of pagan simplicity.and joyousness. 
A company of nude figures are disporting themselves under 
the shelter of a grove of trees. 


Signed at the lower right, J. F. Miter. 
Purchased from Mess. Durand-Rvuel, Paris. 


No. 25 


JEAN FRANCOIS MILLET ; 


FRENCH 
(1814-1875) kK > 
SPRING, DAPHNIS AND CHLOE Shee 


DECORATIVE PANEL 


Height, 81 inches; width, 43 inches Ree ed. CRE 


For the circumstances under which this panel was painted see 
No. 23. In his younger days Millet had earned his livelihood 
by painting nudes. ‘They were not to the taste of Diaz, who, 
however, may have changed his opinion of Millet’s capacity to 
treat the nude, when he saw this panel. For by that time he 
would have realized that his friend was occupied not with the 
coquetries of the figure, but with the expression of life in its 
living rhythmic movement, as represented, for example, in the 
present picture. What an exquisite suggestion of youthful 
vigor in repose have these young forms! Daphnis, the shep- 
herd boy, had been taught to play the pipe by Pan and was 
beloved of the Muses; he was the first of mortals to enliven 
the fields with bucolic songs. We see him seated on a bank, 
beneath a terminal statue of Pan, which is crowned with 
_Jeaves and hung from the waist with honeysuckle and apple 
blossoms. Nor has the boy forgotten to place on the slab 


‘oy * a 
ee Te + 
=: Ae, 
ec he 


below an offering of three cake 1 
while he holds on his knees. a nest, =o 
thrushes, whose beaks are ajar for the crumb xe) 
his sweetheart is handing them. Chloe is ne : 


a, 


knee, at the feet of her young lover, nude to ) the we 
an old rose drapery descends to the ground. 
the mother-thrush and her mate are fluttering, 
foot of a tree a goat is fastened, suckling her kid. 
of the cae is closed in poe a grove oe ae 


roses sprinkle the pore yas where a bag, cts be 
>. a bur % 


of dried flags, are sre near the youth. 


Signed at the lower right, J. F. Mitzer. 
Purchased from Mess. Durand-Ruel, Paris. 


AMERICAN ART ASSOCIATION, e | 
Managers. 

Tuomas EK. Kirsy, ; ' 
Auctioneer. 


ISTS REPRESENTED AND 
N TETR WORK 


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4 


ie ee es 


pe 


AZIN, Pye BAN Meet a 
iS at Quiet Retreat 


Ks RBET, ats 

a Winter i in the eet 

: aa Vik 

‘DAUBIGNY, Cuartes Francois 

—  —- Hauling Logs in Autumn 
Landscape 


DE BOCK, eve sii 


Sunset near Hielsum 


DIAZ DE LA PENA, NarcissE VIRGILE 
Women of the Harem 


DUPRE, Jvtes 


Pasture and Cows 


r OF ARTISTS REPRESENTED AND 
_ THEIR: WORK 


CATALOGUE 
NUMBER 


18 


22 


19 


20 


14 


11 
15 


17 


Le. 


MeINpERT 


ISABEY, Eveixe Louis Gavrren 
Massacre of St. Bartholome 


Smugglers Surprised 
The Fish Market 


MILLET, Jean Francots 
Shepherdess and Flock 
Spring: Daphnis and Chloe 
Summer — 
The Road 
Winter 


RENOIR, Avcustre Firmin 
Young Girl Reading 


ROUSSEAU, THtopore 
The End of the Forest 


ala DTA tN Nl AE SE i i i. a ay ih 


GETTY RESEARCH INSTITUTE 


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